Affinity Publisher for Printables - Create an Owl Colouring Page

1. Introduction: Welcome to this Affinity Publisher for principals class. I'm Monique, the Affinity Girl, and I'm so excited to bring this class to you. I love using Affinity Publisher to create printables products such as affirmation cards, calendars, habit trackers, planners, coloring pages, and so much more. But why Affinity Publisher? Firstly, because it's much easier to use than other design programs I've tried. It's fast and intuitive. The tools are great, and it's a pay once pricing model. Designing principles in Affinity Publisher is not only easy but fun as well. It's a powerful program, and I really love it. In this class, I'll show you how to design a fabulous O colouring page using Affinity Publisher. You'll get to see my thought process when designing a principle, as well as learning a bunch of publisher tips and tricks to take your design skills to the next level. You will learn how to download and install Affinity Publisher two with a seven day free trial. Set it up so it's easy to use. Use margins and guides to figure out where things go. Explore the versatile shapes tool to create all the different parts of your A, learn how to use strokes to add definition to your design, and use layers and groups to keep things organized. You'll also learn how to rotate elements in your design, align elements easily, duplicate and flip elements, and the power of the snapping tool. Included in the course are easy to reference class resources, which will help you confidently design your out from start to finish. If you want to learn how to design principles in Affinity Publisher, then join me for this class for an over the shoulder adventure. It's going to be fun and I can't wait to see what you create. Join me. 2. Class Resources: I have created some class resources to go along with this class, which give the exact dimensions of the owl I create. You can choose to use these and follow along with me, or you can create your owl in your own way. Both options are great. I just want you to have fun and be proud of what you create. Also, if you get stuck at any point in this class, please reach out to me as I'm here to help. Happy creating. 3. Getting Affinity Publisher 2: In this video, I'll show you how to get Affinity Publisher two, how to download it, how to activate the seven day free trial if necessary, and also how to launch it for the first time. Okay, the first thing you'll need to do is you'll need to go to the Affinity website. So I'm going to launch Chrome. I'm going to type in the URL up here. So affinity.serif.com. Takes you to the Affinity homepage. On the Affinity homepage, you'll need to go to the button up here in the middle of the screen that says Publisher. Click on that. You'll then need to go to the big green button on the right hand side that says B now, and that will take you to the Affinity Publisher two page. If you scroll down, you'll see that you've got the option here to actually buy the software. I'm in the United Kingdom, which is why it's in pounds. If you scroll down a little bit further, you'll find there's a box that says Affinity version to Universal license. Down here, there's a little button that says try for free. Affinity offer you a seven day trial, seven day free trial, which allows you not only to download publisher, but it also allows you to download Designer and photo, which are the other two pieces of software. They're all fantastic. I use them all for different things. But for this course, obviously, you will need to download publisher, but you do have the option to download the other software if you fancy trying it. So you'll need to click. Try for free. Seven days doesn't sound very long, but it's actually long enough to do your principle, and it's also long enough to hopefully fall in love with the software. I love Affinity software. It's changed everything that I do, and I'm hoping that you'll grow to love it, as well. So we've got to this page. We need to enter our email. Made a typo there. Put the email address in correctly. Click get my email. You see my email is already added. I now need to create an account, so I need to put my details in here. You need to enter a password. Make it nice and strong. You can then decide if you want to stay informed or updated about Affinity offers. You need to tick the terms and conditions box and you need to click Create Account. It shows you now that you're signing up for the free trial for the Universal license. You've entered your email and you've got your account details in there. You then need to click the big Green button that says, get my download link, and you'll be taken to this page. One last thing you've got to do. You can sign up here again if you didn't sign up before, but you need to verify your email address. This box here, it says you need to give Affinity consent that they can actually email you. So I will be right back with you when I have verified my email, and I'll show you what happens next. Okay, I'm back with you. I've verified my email. I've gone into my email account. I verified the email that was sent from Affinity, and I'm now going to show you how to download the software. You can either just refresh your page or you can go to the little button up here that says account. Click on that button. And if you go down to download and product keys, it will take you to this page, which is the same page it will take you if you refresh your page. There's lots of options here to download the software. You need to find the software and the platform that you want to download. So you've got Affinity Designer on Windows, Affinity Designer on Mac, Affinity Photo on Windows, Affinity photo on Mac. You've got Affinity Publisher on Windows, Affinity Publisher on Mac, and you've also got the option to download all the software onto iPad. I'm on a Mac, so this would be the button that I click to download. Which is what I'm going to do. You'll see that it pops it up into the downloading books up here, one downloading progress. It takes a second to download. Will it do its thing, it it catch up? I'm just going to minimize that for a second. I now being on a mac, it's going to be slightly different if you're on a Windows computer, but on a mac, I have to pop that into my applications folder like that. And then tells me that it's copying it into the applications folder. I'm going to close that, and I'll be right back with you just before I'm about to launch the software. Okay, so I've launched my software. It then gives me a message saying, It's an Internet app. Do I want to open it? Am I sure that I want to open it? You just click Open. You may well be asked to verify your seven day trial to activate your seven day trial. If it gives you that option, just activate it. Is telling me I've got extensions there. Activate the seven day trial, and then Affinity Publisher will open. This is how Affinity Publisher opens for the first time. You'll be greeted with a black user interface, which I will tell you how to adjust in a minute. And also, we need to change these panels here. But I will show you how to do that in the next video. If you've got any problems, reach out to me and I help you make sure that your software is downloaded properly. M 4. Setting up Affinity Publisher 2: In this video, I'm going to show you how to open Affinity Publisher for the first time, how to launch it properly. I'm going to show you how to change the color of the user interface, and I'm going to show you how to set up the panels to make it as easy as possible to design your colouring page. First thing we need to do is launch Affinity Publisher. It's down here in my dock. When you open it for the first time, you're going to be greeted with a page that looks something like this. This is a dark user interface. I tend to work with the Light user interface. So I just change that by going to the Affinity Publisher two menu on the left hand side up here. I go to settings. In the box, I look for user interface on the left. And then there's an option here that says I style. I've got the option for dark, Light default OS. I'm on a Mac, which is why I've got the default OS option. I change it to light user interface. I tend to work with the light user interface, no matter what program I'm using. I just find it easier on my eyes. I find my eyes get less tired, and I also actually find it easier to find things on the screen. Next thing we're going to do is we're going to change out these panels. You can see that there's lots of options in these panels. We're not going to use all those options. So I just put in the options and the panels that I'm actually going to use when I'm designing my coloring page. You access them through the window menu at the top here and you'll see there's lots of options ticked. We don't need all those. The easiest way I found to actually start again is to close the panel groups. So close panel group by clicking on the three little lines, closed panel group, closed panel group. Then we go back into the window menu at the top. All we need to design our colouring page is pages, which pops over on the left hand side, it automatically goes to the left. Layers, which will go straight to the right hand side. Stroke, Satches you'll probably have less options here for swatches. I tend to collect colors as I'm going along. I really love colors and enjoy working with them, so I add them to my swatches menu as I go. And the last one we need is transform. Now, you'll see that transform goes straight to the bottom right hand corner. There's a really good reason for that because when we're working with shapes and elements on a page, it actually is so much easier to have this open all the time. You've got the options for width and height down here and you've also got the option for rotate, it just makes it a lot easier to be able to see what's going on on the page. To open these panels up here, you have to click them. Same with the pages and the master pages, which we will get onto in another video. And Transform, as I said, is open all the time. Okay. You've got Affinity Publisher two set up. I'll see you in a minute. 5. Getting Going with Affinity Publisher: In this video, I'm going to show you how to open a new document, set up your margins using guides, and how to work with master pages and pages. To open a new document, just go to File in the top menu, go to New, and it will bring up this box. You have a long list of options down here. The list goes on and on. I tend to work with the A sizes because I'm in the United Kingdom. You might want to work with US letter size or another size if you're in a different country. First thing you need to look at is layout down here. This gives you the dimensions of the documents, check what you want them to be. DPI is dots per int. This is the resolution that the document will print on. If you want to print, 300 DPI is a great resolution to use. Don't worry about default master. Document units are here. You can change it to whatever you want to. So millimeters, centimeters, inches, pixels if you're doing something completely different. And don't worry about image replacement. You go to pages. There's the option here for facing pages. Publisher can be used to design magazine layouts, so that's where facing pages comes in. We're only designing one document so you can uncheck facing pages. Don't worry about a range because that's to do with facing pages as well, and we just want one page. If you go to color, when you open Affinity Publisher for the first time, you'll likely find that this is on CMYK. I always change it to RGB eight. There may be times also there's an option here for transparent background that you actually want a transparent background. Generally, if I'm designing principles or coloring pages, I have a white background, which you can see here, but there may be times if you're designing something like a PNG, where you need the background to be isolated, you can actually remove the background. I'm going to have that ticked for now. Margins, this gives you the option to actually put the margins in here. We're going to create our own margins with guides. So I untick margins and bleed. Again, you might well have something already in these boxes. If you need to change them to zero, because bleed is only to do if you're having the document printed professionally. Other than that, you don't need to worry about bleed. So I make sure this little button here, which is link bleed, I make sure that is checked. There's two little box. It looks a bit like a bracket sign. That's when it's unchecked. That's when it's checked. And that means then you can change the size of the bleed if you need to, or you can change it to zero all in one go. So if you notice I put zero back in there and click Return, it will change everything all at once. I then click Create. Brings up our lovely new document. Now I'm going to show you how to draw your margins using guides. If you have a look in our panel on the left here, we've got the option for master pages and pages. First thing I want you to do is to click Master Pages down. At the moment, we've not got anything in master pages because we've not created any master pages. First thing we're going to do is going to create a master page. Go to a little button here that says add Master. Click it, give your master a name. We're going to call it guides because we're going to put the guides onto the master page. I'll explain why in just a second. There we go. You can now see that we've got a Master page because it's under the Master Page panel, and we have a page. The reason I put my guides onto a master page is because then I don't run the risk of moving them accidentally. Master pages are great for when you're designing documents if you want to have the same thing on every page, but you don't want to put it on every page separately. What you can do is you can create a master page here and you can then apply it to the page, which I'll show you how to do in a minute. I'm going to double click on my MasterPage, my Guides page to make sure I'm actually on it. When there's nothing on it, it's quite tricky to actually see what page you're actually on. I'm then going to show you how to access the guides. They're actually hidden within the rulers on the left hand side and on the top of the page here. I'm going to grab the guide out of the ruler. You literally just have to press the mouse key down and you'll be able to grab a guide out. I'm just going to drop it on the page there. I'm going to do the same from the top to show you. You can bring these guides anywhere you like on your document, and I will show you the easiest way to actually get them into place. I want our guides on our new document for our coloring page at 20 millimeters. If you move that guide about, you can see that Y is now at 20 millimeters. I'm going to take our vertical one across as well. And get it to 20 millimeters. If you're really struggling to actually get it into place, hover above the guides so that the little cursor changes and double click on the guide. You will then bring up the guides menu. You can now see our horizontal guide is at 20 millimeters, which is what we wanted, and our vertical guide is at 20 millimeters, which is what we wanted. That little box is really useful if you can't get your guide in exactly the right place. I want a guide on the other side as well. So I'm going to drag it across. I'm going to work out where I need it. I know that our document is 210 millimeters wide, so I know I need it at 190. It's a bit tricky to get it. There we go, 190. I also want one 20 millimeters from the bottom. I'm going to grab that down. I know that my A four page is at 297 millimeters, so I know it needs to be at 277. If I can't get in the right place for any reason, it doesn't want to snap at all today. I'm going to double click on it. I'm going to look for the horizontal guide. I'm going to double click on that. I'm going to delete the number that I don't want and change it to 277 because I know that's what I need our guides at. You also have the option to remove all guides here, which is really useful if you've got loads of guides on your page. But I'm also going to show you another way to actually remove your guide. It's really simple. Hover over the guide, wait till the cursor changes, pick it up and just grab it off your page. I'm just going to pop that back in there just so that I can show you what else I need to show you. That's now sitting on our guides master. If I double click on our page, you'll notice that the guides just disappear. There's a good reason for that. We've created our master here, but we haven't applied it to this page yet. So you need to hover over the page. I double click on it and make sure I'm actually on that page. I right click and there's an option here for apply master. It brings up this little box. You have an option here either to have no master applied or to have guides. If you've created more masters, then you will have a list here, but you need to find the master that you want to apply to that page. So I'm going to click Guides. And there's a little box here that says replace existing. That's really important if you have got more than one master because sometimes you need to layer those masters up. And if you don't untick that box, what you'll find is that the master that you're trying to apply will take all the other masters out. So if you uncheck that I do it as a matter of habit, you'll find that you'll be able to apply more than one master to the page. I'm just going to click Okay, now what you'll see, I'm just going to zoom in and show you what you'll see now is that our guides have appeared, but they are a dotted line. If I now hover over the top, my cursor doesn't change, which means I actually can't move those guides about. The reason I found this to be really good is because when I'm working with elements on my page, sometimes inadvertently, I can actually pick the guide up, and then I end up getting things wonky on the page because the guide is not where I thought it was and I'm not putting things where I thought I was putting them. That's the very reason that I use the Master page. I've just clicked back onto the MasterPage again. I know I can now move the guides again because the cursor changes. I know they're in the right place. I check that they're showing up on my page by making sure that I've applied them by right clicking and going to apply Master. This is just a really simple way to set up your margins using guides. It makes it much easier to do it on a master page, and once you've applied that master page, it means that your guides are actually going to stay where you've put them. I look forward to seeing you in the next video. 6. The Head, Beak & Eyes: In this video, I'm going to show you how to start designing your gorgeous Au colouring page. And we're going to start designing his head, then his beak, and then his eyes. So this is our document that we opened. It's our document that we saved. I saved it under the name of Au very original. On our documents, we have our master page, which is here and we have our page which is here. When we click on our page, I want to draw your attention to the layers menu over here. It tells us that we have a master applied, and I know it's a master because it has a green line down the edge of it. If you hover over, it also tells you that it's the guides master. It will actually give you the name of the master. On the actual layer there. But only masters have that green line against them. You know, if you look in your layers panel that you'll be able to see any masters that you've actually applied, which is really useful. I'm going to add something to our master page to our Guides page. You can tell I'm on the page here, not the master because the lines are dotted, our guides are dotted. Whereas if I click back on here, we know that they are solid and you can see that the cursor changes as you go over them so you can actually move them. I'm just going to add in a central vertical guide. I'm going to grab it from the ruler again, I'm going to drag it across and I'm going to drop it in the middle. I know it's the middle. I'll show you that again because it goes to a solid green line. There we go solid green line. I also know that the middle of an A four page is at 105 millimeters. I'm going to let that go. Now on our page, that will now come up as a dotted line. I've now got the margins in, so I know not to go over the edge of this box here. And we've also got a central line. I normally put a central line in because I just find it easier for lining things up. I'm also going to show you how to line up the shapes on the page using the align tool layer menu up here. So we're going to go down to alignment. I'm going to go to align center, but I'll show you that as we're actually going through. Okay, so my class resources page, first thing I want to do is I want to create an ellipse that's 68 millimeters by 50 millimeters high with a stroke of two point. So if I go back to my document here, I'm going to remember to save it as I go along because otherwise you can do a whole load of work and you can end up losing it halfway through. I'm going to go back to my page, make sure I'm double clicked to my page. I'm going to go to my shapes tool on the left hand side. Because the last tool that we use was a rectangle, it's telling me that it's the rectangle tool. I need to click on that little arrow there and go to the Ellipse tool because that's the tool that we now need. I'm going to draw an ellipse that is 68 millimeters wide and 50 millimeters high. I'm going to start drawing that in. I never know when you get exact the first time. I'm going to go down to my transform tool. I know that this is selected already. But you can also make sure that you can move it about if you need to. I'm going to press the V tool or you can go to the move tool up here. I'm going to go down to my Transform panel. I'm going to uncheck this because at the moment, if I change the number at the top, the bottom number, the height is also going to change and I don't want to do that. I'll show you what happens if I do it if I try and make it the exact size. If I put my 68 millimeters in here and change it, because that is maintained, it's going to change both of those, and that's not what I need. I'm going to uncheck that, which means now that I can change the height to 50. That gives me that lovely shape for the owl's head. Now I've just clicked off it. It looks like it's vanished. The reason it looks like it's vanished is because I haven't put a stroke on it yet. If we check on our class resources list, the stroke needs to be at two. I'm going to find my shape. I can often find it. If I'm lucky, there we go. I managed to click on it. But other than that, go to your layers menu. Go to the ellipse. I get into the habit of actually renaming my layers, so I'm going to call this head straight away so that I know exactly what I'm dealing with. I'm going to click off there so that it's now registered that I've named it. I'm going to click back onto the layer. I'm now going to give it a stroke, which means going into our stroke menu. You can see here that the stroke says zero. I'm going to drag that up and I'm going to give it a stroke of two. We're going to our Swatches menu. This open circle here is our stroke. So you can see that it says that our stroke is black at the moment and at the moment we don't have a fill. We will be using the fill later on. I'm going to do principal, my coloring page in black and white because I'm going to be printing it out and I'll see how want to color it in. But you can easily fill it. If I show you what it looks like filled, there it is filled. If I decide that I don't want it filled, I just put the line through the stroke. It says, set, fill none. Therefore, I turn the fill off in there. We've got our rectangle on our page. I now need to get it into the center of our page. You can either drag it across and when it's lined up, if I zoom in for you, you can see that a bit better. When it's lined up, the guide goes a solid green color. I now know that it's in the middle, but there's also a really easy way to make sure it's center aligned as well, which I showed you earlier. I have it wherever you want it on the page. Go into layer, go to alignment, and click Align Center, and that has automatically aligned it with the center of the page. We've got our head in. Fantastic. First part of our out is done. I'm now going to save this. I save it as I go along so you can either go to file, save. Or you can do Command S or Control S if you're on a Windows computer. But I now know that that's saved. As I do a little bit more work, you'll see that there's an M that appears here, which tells me that the document has been modified and it means that it needs saving if you want to save the changes, the modifications that you've made. I'm going to check what we need to do next. We're going to create our beak, first of all, 15 millimeters wide by 19 millimeters high. So I'm going to kick back. I'm going to uncheck that because I don't need that highlighted at the moment. I'm going to go back into my shapes tool and I'm going to go to the triangle tool this time. And I'm going to draw myself a triangle. I'm literally going to click on the page and I'm going to drag it across. You'll see that the triangles you create, they are always that way around. They are always in that orientation. We are actually going to need to turn it outside down and I'll show you how to spin it around really easily. Just going to check back on the dimensions. 15 wide, 19 high, 15 wide. So I'm going to come down here 15 wide. And 19 high. Now we've got a lovely beak in there. You can either spin this round in two ways. I've got three ways. You can either spin it around. You're going to need to spin it around 180 degrees. That can be a bit tricky actually trying to get it exactly 180. I'm going to undo that with Control or Command Z because I actually want to show you another way. You can see my cursory is still across. That means I'm still in drawing mode. I actually need to put it into Select mode. I'm going to go back to my MO tool here. I'm going to click that and I'm now on Select. Other way you can shift it round. There's a little button up here that says rotate clockwise. That will allow you to spin it around in 90 degree increments. If I click it, it goes around clockwise and if I click it round again, it's gone around 180 degrees. Every time you click it, it will go around 90 degrees. If you want to go around some reason the other way around, rotate anticlockwise, it will go back the other way. But I want my beak upside down. The last way you can do that, if you actually want to do a very specific amount that you rotate it, I'm just going to take that back. To how it was when we drew it. That's how it is when you draw it. I'm going to click on that. If you're selecting a shape, you need to click on the edge of the shape, the edge of one of the lines. You can go down to the rotate option here and you can put in 180 degrees, click it and it will turn it around for you 180 degrees. I will rotate at 180 degrees. We now have our beak, I'm just going to store our beak up here for a minute because I'm going to get all the elements before we start putting it all together. Next thing we are going to do is we're going to create our eyes. The eyes have got different parts, if I show you here, I'll just zoom in for you. So we've got our outer circle, we've got our iris, we've got our pupil, and then we've got our highlight. Our outer circle, our biggest circle is going to be 30 millimeters. Again, each of these has a stroke of two point. So I'm going to go back. Remember, I was talking about showing that the document has been modified. Here it is, it says O and it's got an M by it. I'm just going to quickly save it, go to file, save, and then the M disappears. That now means the documents saved. Now I've forgotten the dimensions for the Is, 30 millimeters. This time we do want it to be a perfect circle. We don't want it to be ellipse like this, so a squash circle, we actually want it to be a perfect circle. I'm going to go back into the shapes tool here. We're on the triangle because we did the beak. We go into there, click the ellipse tool and I'm going to hold down shift. You can see that it's in drawing mode because the cursor is across. I'm going to hold down shift, and I'm going to drag my mouse out to 30. Sometimes I can get it exact and sometimes it doesn't want to get exact at all. When you come down to the transform tool on the right hand side, you can see that the width is 30.9 millimeters at the moment, and the height is 30.9 millimeters. We want to maintain this aspect ratio. We want the width and the height to remain the same when we change it. So we can actually activate that again. I'm now going to change that to 30 millimeters. If I press return, it will change the height as well. So we now know that we've got a perfect circle of 30 millimeters. I'm going to click back on my move tool. I'm going to bring this down into our head. It looks huge, but there's a good reason for this because owls tend to have the big part around the eyes, the big circles around their eyes. Now, as you move it into place, you will see if you move it up and down, I actually want it just above the middle line of his head. So that's the middle because you can see there's a solid red line which tells me that you're actually in the middle of the head shape. But I actually want it slightly above. Need to make sure the right one is selected there. I actually got the wrong one there. I actually got the head. So I'm going to move it just above that, just a couple of clicks. And it's snapping all the time. Remember this is our snapping tool up here. If it's white, then nothing will snap, and you can just move things about, and it won't snap to anything. But I tend to have snapping on all the time unless I'm doing a really precise measurement, and then I actually take the snapping off because then you get these lovely lines, and they really help you. So that's sitting in the middle of the head because you've got a solid red line, but I'm just going to lift it up a couple of spaces and drop it down. Might need to bring that down a little bit because it's a little bit too close, edge. There we go. Perfect. I'm going to save that again. So I'm going to go Command S. I tend to use a lot of shortcuts, but you can go up to file and save. I'm going to check the dimensions for the iris. The iris is the next circle inside, and that's sitting right in the middle of the outer circle. Theiris is 16 millimeters. I'm going to click on this one because we already have a circle on here, so we don't necessarily need to go back to the Shapes tool. You can go back to the Shapes tool, but I've already got a circle on here. I'm actually going to rename these layers so I know exactly what I'm working with. I'm going to rename that beak. Just by clicking on the layers and then double clicking on the layer and it will open up the box where you can actually type into it. I'm going to call that outer circle I because then I know what I'm working with. What I'm going to do is I'm going to duplicate the outer circle I and I'm going to change the size of the circle. I find this a really easy way to do it. As I said, you can go back to the shapes tool, but often if you've got shapes here that you're already using and that you already need, you can just duplicate the layer. I'm going to show you how to do it in the menu. You go to edit, you go to copy. Click off, Edit Paste. You can also do that as a shortcut. On a mac, you can go Command C, Command V. Command C is copy, Command V is paste, or if you're on Windows, it's Control C, and then Control V for paste. Now, it doesn't look like we've got very much here. It's already selected, if I actually click on top of it and drag it away, you can see that we've created another circle. You can also see in the layer here, layers here, that you've actually got two circles. I'm actually going to name this top circle Iris. And because we're designing the iris at 16 millimeters, click on the iris and I'm going to change the dimensions down here. Change that 16. We need that aspect ratio still clicked here because if you watch it will change the height to 16 as well. There we go, we've got a perfect circle, 16 wide, 16 high. I'm going to drag that back over the top of the eye and I'm going to try and find the solid green line and the solid red line. That tells me that that circle is now in the middle of the outer circle. Fantastic. We've got the iris in there. I'm going to save it again, Command S. I just keep saving as I go along, and then I don't lose anything. Back into our class resources, I'm going to look for the pupil. Our pupil is 10 millimeters. We're going to duplicate the iris because again, we already have a circle on the page, so I'm going to use what we've already designed. I'm going to go Command C, Command V. You can see that it's created another layer here. I'm going to rename that layer to pupil. I'm actually just going to leave it where it is because I don't need to move it out. I know it's there, it's in the layers, and I'm just going to change the size to 10 millimeters this time. You can see that it's changed top and bottom, the width and the height. I'm going to get hold of it. Again, I'm going to use those solid green line, the solid red line to get it into the middle of the circle that we've already got on the page. Okay, we're doing really well. I'm going to save that again? Try and get into the habit of saving whenever you think about it because it does just save a lot of heartache if, for example, the program crashes or if your computer crashes or if there's an earthquake or something equally interesting like that. Just keep saving your work because then it just means that anything you've done, you've not wasted time because you lose a load of work. Have a look at our highlight. Our highlight is 3.3 millimeters, our highlight is this little.in the middle. It just gives our some character. Again, I'm going to use the circles that we already have. I'm going to click on the pupil. I'm going to go Command C, Command V. I'm going to change this to 3.3. I'm going to zoom in. I'm going to call this I highlight. I'm going to have to zoom in quite a bit because sometimes it's really hard to grab a shape and it wants to grab anything else apart from the shape that you actually want to grab. I'm just going to move that into a position that I think looks fairly good. You can actually see I've got the green and the red line there. I'm going to drop that down and I'm going to zoom out. We have a fab looking eye coming together already. Now what I tend to do with these layers, Because I don't want to end up with loads and loads and loads of layers, what I do is I group the layers. I'm going to click on the bottom layer. I'm going to click on the top layer that I want to group. I'm going to right click and I'm going to go down to group. You can also do that by doing Command G or Control G, if you want to group. That now means this little button here is really useful toggle visibility. If you want to see that you've actually got all the layers grouped together properly, I'm going to turn that off. It's still there. I've just turned it off so I can't see it. I'm just going to open up that group so that it's labeled group there. I'm going to give it my own label. I'm going to call it I. I'm going to open up the layer here. I want to show you what it looks like that it actually does look like an I. If we go to our pupil, go to our swatches, I'm going to fill that temporary just to show that it actually does look like an I. I want to show you something here. Only the stroke is on the highlight. I actually looks like the highlights disappeared. I just want to have a check and make sure it's in the right place. I'm actually going to fill it with white. There you can see we've got our highlights. We've got our pupil, we've got our iris, and then we've got the outside of our owl's eye. Perfect. I know that's exactly what I want, so I'm just going to go back in. I'm going to turn the fill off on the I just tend to check things and make sure that I've actually done them correctly and done them the way that I want them and that they're looking how I want them. I'm also going to go back into swatches and I'm going to turn the fill off on the pupil. Okay, our eyes are coming along, fantastic. Go back to our layers menu. I want the other eye to look exactly the same as this eye. I'm actually just going to rename this layer. I'm going to rename it to right IR. Because I know I want the other eye looking exactly the same, I'm actually just going to copy and paste this eye again and rename the layer. I'm going to go Command C. Again, you can just go to edit and copy. You can then go to Edit and paste and you can see the shortcut there is Command V. I'm going to paste it. You can see that we now have two right eyes. Well, two right eyes isn't a lot of good. I'm going to just rename that top one to left eye. I'm going to click back on the page. I'm going to hold down the Shift key, and this is a really nifty trick. If you hold down the Shift key and drag it across, you'll see that it doesn't actually move up and down. I can't actually move it up and down. All I can do is move it across, which is fantastic, it means that it stays in the same orientation. I'm still holding Shift down. I've dragged it across. You can see that when it hits the center line, the line goes green. I'm going to let go of both the mouse and the shift key and click off. And you can now see that we have two eyes. We have our left eye, which is that one, we have our right eye, which is that one. And they are now sitting exactly in line with each other, both on the center line, and they're both in the right place. You can also check that they're lined up, which I often do. I'm going to click on our left eye. I'm just going to quickly drag guide down. You can now see that the red line is hitting both of those objects. So it's hitting this object, the left eye. And if you click on that one, you can see that it's all lined up beautifully. I often just use guides to make sure that everything's lined up properly. Get rid of the guide, grab it and drop it off the edge. Okay, last thing I want to do in this video is I just want to place the beak. I go to drag the beak over. I'm just going to zoom in again, and I'm just going to line it up where I think I might want it. Now what I'm actually going to do, I'm going to do something clever with the layers because I actually want the beak. First of all, I'm going to fill it with white so you can't see the eyes behind it. I'm also going to tuck it if I zoom right in for you, I want to tuck this beak behind our iris, which means we're going to have to rearrange some of the layers. That's okay. Don't panic. It's really easy, but it will just give a better effect when you actually print it out. We're actually going to have to fill some of these shapes on our owl because otherwise you're going to have the lines of the shapes underneath coming through. I'm going to open up the panel for the right eye, I'm going to open up the panel for the left eye. First thing I want to do is I'm going to fill our beak, so I'm going to go to our swatches menu. The white, dark gray and black color is always on this little box here. You can also cut the fill out as well if you want to. I'm actually just going to fill it with white. I've filled the beak with white. The reason it is not showing up as filled is because it's actually sitting underneath these two layers. It's sitting underneath the right eye layer and the left eye layer. What I've got to do is I've got to move the position of the layer. Now you can either go into layer and go to a range and go to move to front. There we go. It's jump right up to the top. You can see now that we have a solid white fill in here, which means it's actually covering up part of the eye, which is exactly what we wanted. I'm going to show you another way to do it. If I do something wrong, you can either go to edit undo clear selection, edit, undo move nodes to top. There's a much easier way. You can just go to Control Zed or Command Z and it will undo whatever you've just done. You saw there that I had to undo two actions because the shape was actually selected, and then I actually had to undo moving the layer. There's another way to move your layers. Click on the layer here. Hold the mouse key down and let you drag it wherever you want it. So I'm going to drag it right to the top and you need to have a thin blue line. If you have a thick blue line like that, you're actually putting it inside another layer if I do that. This time it actually works, but a lot of times it doesn't actually disappear inside the layer. Ghold of the layer, get it to the top or get it to wherever you want it in that layers panel and let go. You can now see that the beak is sitting on top of our eyes. Now, I grouped all these because it makes it easier to work with. It makes it easier if you want to move them about like we did before we got the left eye in place. But I said to you, we need to actually change where this beak is sitting in relation to some of these elements on the page. You're going to have to work with me just for a second as I work out where the beak needs to go. I'm going to see if it will sit in between and see if we can get the effect that we want. No, that doesn't work either. I'm going to open these layers back up. Sometimes it's a case of just playing with the layers that you've got to actually see if you can get the elements sitting in the place that you want it. I know that the beak, I'm going to have to move actually some of these layers from these groups here. I know that we want the eyes at the top. I'm going to put the eyes together here. I'm going to put the pupils together. You see, I've got the eye highlight and the eye highlight. If I rename that to left eye highlight, rename that to right eye highlight. That's the left pupil. This can seem a bit monotonous renaming our layers, but it just means that you can easily see what you're working with. I can see now that the beak is still not in exactly the right place. What I'm going to do is I'm going to see what happens if I drag it down here. Not an awful lot. I think it needs to sit under our iris, which means it needs to be under here. I'm going to move the iris up from the right eye. I'm now going to move our beak down. Let's see what happens. I'm going to zoom and see if we can get it in the right place. I'm going to drag that down underneath that. We're still not quite there at the moment. I'm going to fill the iris which is here. There we are. It's done exactly what I wanted it to do. I want it to look like it's sitting underneath the iris. If I show you again, I'm just going to undo that. When I filled the iris here, the right iris, just rename that. And the left iris. We want it to look like it's just sitting underneath this iris. So we've got to fill this iris with white to give the illusion that the beak is actually sitting underneath it. So go back to our swatches menu and fill it. And you can see now it looks like the beak is just popping underneath that iris there. I'm gonna do that the other side. We're also going to fill the left iris. We're going to go into swatches. We're going to fill, and there we are. We've got the beak sitting exactly underneath the iris. It's just a small detail, but it just makes it look a little bit more interesting. I'm now going to bring this outer eye up to there, and I'm going to show you something that happens when you've finished with a group that you're no longer using. So this little I think it looks like a camera, but it's actually telling me that the group is no longer needed. So I can click on there because I've basically taken all the elements out of that group and I can just hit the delete key, and that deletes that group. This is actually now not the left eye. It's actually the eyes, so I'm going to rename that. If I close that up and I just toggle it on and off for a minute, you can see that the whole of that eyes, it's actually eyes in the beak, so let's rename it eyes. And beak. So eyes and beak disappear, come back on again, and then our head is in the head layer here. So you can see how we actually had to play about with the fill for the irises to make it look like the beak layer is actually underneath. It's a really handy tip, and it's one that we're going to use throughout designing our principle because what we need to do is give the illusion that the layers are on top of each other and sometimes you actually have to fill, and that's the only way that you can do it. Last thing I want to add in is a little beak highlight. I'm going to save this, which I've just done, so it's not modified anymore. I'm going to go to class resources again. I'm going to find our beak highlight down here. Notice that the stroke is different because we just want a thin line. We don't want a thick line like we've had for the eye and for the head here. We're just going to have a thinner stroke, so I'll show you how to change that. But we're going to have a beak highlight of 3.5 by 4 millimeters. Gonna go back into our shapes tool over here. I'm going to find the triangle. I'm going to zoom out slightly, swiping on my mouse pad. I'm going to draw myself a little triangle. Remember, it draws the triangle, the wrong way around. I say the wrong way around it, it draws it so it's upside down from how we need it. It's popped it in underneath this layer. I don't want it in underneath this layer. I actually want it above that layer, so I'm going to drag it and pop it in at the top. Alternatively, you could actually go to layer alignment alignment, arrange and go to move to front and that will pop it right up at the front. It just means it's easier to work with and I'm not grabbing anything else that I shouldn't be grabbing. You can see the cursors on across, which means we're still on our drawing cursor, go to our move tool. You can see that because the last shape that we drew and we were modifying has actually got a fill in it, it showed me that we have a fill on our little highlight. I'm just going to rename that beak highlight. I'm actually going to take the fill out because we don't need the fill. It doesn't really matter in this case, but I'm just going to take it out. I'm going to resize our beak highlight to 3.5 by four high. So it's highlighted, it's selected. 3.5. I'm going to take that off so it doesn't change the height as well for us because I want to put the height in. Four. I'm going to change the stroke on this because you can see the stroke looks very thick. When you make smaller shapes, the stroke always looks a lot thicker. That's why I adjust the stroke thickness. I'm going to go into our stroke menu here. I'm going to toll that down to 1.2. You can see that it's either at one or 1.5. What you actually have to do is click in the box, highlight it, delete the five, pop a two in, and then you can press return. You can see that that stroke is now thinner. I'm going to click back on it. I want to spin it around 180 degrees. This is the tool that I find it easiest to do that. I'm going to rotate it, rotate it. I'm going to grab hold of it and I'm just going to pop it onto our beak. I just do it by eye. I line it up until it looks about even. There we go. It's actually sitting on the central line, which is quite nice. And there we have our's head. We have our e that we created that we then duplicated. We've got two eyes that are exactly the same. We created our beak, we created our beak highlight. We made sure that our beak was sitting in the position that we wanted to sit in and everything's looking pretty good. I'm going to save this again. File safe or Command S or Control S, we're going to move on to designing the rest of our. Hope you've enjoyed this video and I'll see you in a minute. 7. The Body & Toes: In this video, we're going to give our owl a body, and we're going to give him some little toes. We're going to give him some highlights on his toes. I can't decide if they're toenails or not, but he's going to have some little highlights on his little toes. So we've got our owl head, eyes, and beak that we designed in the last video, and we're now going to carry on designing our fantastic owl colouring page. I'm going to check back on my class resources pay. So it's 75 by 85. Obviously if you're working on US letter size, you can work in inches. I find it more comfortable being in the UK to work in millimeters, but there's nothing stopping you converting these 2 " if you wanted to. But if you do work in millimeters like I'm working, the size that we're creating the O will actually fit easily onto a US letter size document. So you can actually work in millimeters, and it will still fit actually on your page. So we're going to go back into our Shapes tool. We're going to find our Ellipse tool, and I'm just going to draw a shape on the page. I'm going to go into the move tool, which selects our shape. I'm going to zoom in a little bit for you. Just move it up. So 75. We don't need the maintain aspect ratio on this time because we don't want it to change the height as well. I want to be able to change the height by 85. I'm just going to check I've got that correct. 75 by 85, and we need a stroke of two. I'm already in the stroke menu here and you can see that because we've been working with a stroke of 1.2, that's not quite enough. I'm just going to knock that up to two. You can either use the slider here or you can actually put the exact number in there. You can now see that we have a lovely body shape. Also got a lovely thick stroke. You go back into my layers menu. We now need to work out. In fact, I forgot to do something in the last video. I'm actually going to put our beak highlight inside that layer. I'll show you that again because there's two ways you can do that. You can either open up the layer like I did so you can either open it up and drop it in there. Again, have a thin line. Otherwise, you're actually going to drop it inside a layer that's already in that layer. Or if that layer is closed, then grab hold of that layer and actually drop it. That's when you do want a big thick blue line, that would actually drop it inside that layer and you can now see that it's at the top of that layer. There's two ways that you can actually move the layers and tidy things up. I'm going to rename this layer to body. I'm now going to click on it to highlight it. I'm going to bring it up to the w. I'm going to make sure it's center aligned. Now I've taken it up the center guide, but just to check, you can make sure that it's centralized by going into layer, alignment, and aligned center. Then you know exactly that it's on that center line. I'm actually just going to move it up a little bit more because I want him to look a little bit plumper. You can just I've just taken off the center line. You can actually just play about with it until you think it looks proportionally right. Now, I want this underneath the head. The only way we can do that is actually to fill the head. I'm going to open up this layers here. I'm sorry in the wrong layer there. I'm just going to go to our head layer. Going to go into our swatches and I'm going to fill that head layer. Now the reason you can still see the body there sitting over the top of the head because it's in the wrong order in our layers. I'm going to click on body, I'm going to drag it down underneath our head and you can now see that his head looks like it's disappeared underneath his body, which is exactly what we want. That's our body done. We might have to adjust the position of it to make him look either really stodgy and short and fat or to make him look a bit more elongated, but we can play with that as we go. Go back into my class resources. Next thing we're going to do is we're going to give little chap some toes. Now there's a few little bits in here to do. First thing we're going to do is actually just design one toe and then we're going to duplicate the toes three times and then we're going to put most of the other side as well. 6.5 wide, 12.5 high. We're going to go back into our circle tool here, our ellipse tool. I'm going to zoom in because we're working with quite a small shape here. So I'm going to draw 6.56 0.5 by 12.5 high. So 6.5 by 12.5. Remember, the maintain aspect ratio is off because otherwise it changes both measurements for us. And we've now got a little toe shape. If I zoom out, just going to check the stroke on here. We want a stroke of two. Stroke of two. Excellent. I'm going to select the shape by going to our move tool and I'm going to drag it down. I'm going to pop it on top of our body. Somewhere around there. And I'm not giving you exact positions for this because I want your out to become your creation. But you can see roughly where I'm lining things up. Now, I'm guessing that we've already got a fill in that because I can't see the line of the body coming through that. So let's go back to our swatches, you go to our layers. You can see that that's actually filled, which is ideal. If I turn that fill off, that's not what we want. We don't want the line of the body coming through that if I zoom in. We don't want the line of the body coming through that. We actually want it to look like the toes are in front of the body. So I need to select the shape. I need to put that fill back in again, and I can check in the layers. Okay. Perfect. We now need three little toes for our little chap here. So what I'm going to do is it's already highlighted. It's already selected. I'm going to go control, sorry, Command C and Command B. We have our second little toe there. Going to zoom in again, and I'm just going to drag it to sit somewhere next to his other toe. I think that looks about right. I'm going to do the same thing again. Command C or in the menu, edit, copy, edit paste. I'm going to drag that one out as well. I'm just going to see where I think and you'll get lots of lines coming up. That's telling me that the middle of that toe is actually in line with the top of the far left hand toe. That looks pretty good to me. I'm going to zoom out, see what it looks like. Excellent. I'm going to group these toes together and then I'm going to name the layer. I'm going to click on the bottom layer, click on the top layer, Command G or again, you can go right click and group. I'm now going to name that toes. I'm not going to name it right hand toes or left toes at the moment because we need to put some toes on this side. I will rename the layers when I've actually duplicated the set of toes. I'm going to click on the layer, or again, you can click on the page. I'm going to do Command C, Command V, and I'm going to drag it away. Now, what you'll notice, his toes look a bit funny. What we actually need to do is we need to mirror them. We actually need to find a little button up here that says flip horizontal. Imagine there's a line going down the middle of that tool and you're effectively mirroring the shape. If you do it that way around, it will flip it vertical, so the line that you would mirror across will be going horizontal. Whereas this one, you actually want the line going down the middle of it. If you watch carefully, if I press that button, it flips it round. Really, really useful tool, Love that tool. Makes things so much easier. In fact, also believe if you go into the layer and let me find it where it's gone. There we go. It's in transform. It's not often like I use the menu up there. I tend to use a little button there because it's actually on the screen. But you can flip horizontal if I flip it back again. There we go. Or layer back into Transform, flip horizontal. You've got two choices. I always tend to use things on the screen. I just find it a lot easier than actually having to go back into the menu at the top. Now if you drag this over, again, I'm going to zoom in. And we want it to be sitting in the same orientation. Now, I'm struggling here to actually get it to sit the same distance. So here's our center line. I want to get the same distance from there to there as I do from there to there to make sure the toes are in exactly the same place. I'm actually going to create myself a little measuring box. I've already got my guide in here. I'm going to bring another guide in to sit against the edge of these toes. I'm going to select these toes. I'm going to bring a guide in. You can see that it's gone green if I zoom in. You see, as I drop that guide against the edge of the toes, it actually goes green. I know it's snapping to the edge of those toes. I'm going to go to our shapes to our rectangle tool. This is often how I design a lot of my stuff. I make sure that things are lined up with each other and this is just the easiest way I've found to do it. The cursors on a cross, so I know that I'm still in drawing mode. And I'm going to select it. I'm going to bring it over to the middle. What I often do, I'm going to move that up to the top, so I know I'm working with the top layer there. I go to swatches and I just make it into a completely different color. So maybe pink because I know that I need to delete it before I actually carry on working with the rest of the document. I can see the documents being modified up here. I'm just going to give it a quick save so we don't lose anything. I've lined this shape up with the left hand guide, you can see the left hand guide has gone green. I'm going to drag this in. We're not worried about measurements. What we're actually worried about is creating a shape the same size as the distance between these guides. And then going to move the shape. I'm going to make sure that the right hand side now is lined up against that guide. I'm going to draw another guide in this side. You can see the little green notes there so I know the guide is in the right place. I'm going to delete this shape because it's done its work. I'm also going to make sure that we get the bottom of our toes here, make sure that they're lined up. I've highlighted the toes again. Oops. Don't mean to drag the document there. That's what happens if you get ahold of the document rather than a guide, it actually moves the whole document out. You just drop it back in alignment with the other document here. Get ahold of a guide, not the whole document. When it's lined up, you get that solid red line. Now I know this guide here is going to allow me to line up the edge of the toes here and this guide here is going to allow me to line up the bottom of the toes. Let's bring it in. There we go, you can see that if I zoom in a little bit more, make it a bit clearer. As it snaps in, the vertical guide goes green and the horizontal guide goes red. If I now let go. Super, I'm just going to zoom out and you can now see that the toes are in exactly the same place. I'm going to get rid of the guides that I don't need. I'm going to drag those off. Drag that one off and drag that one off, so you click on them and drag them. I actually want to see what our little guy looks like without any guides on. This is a really handy shortcut. If you go to the Command key with a semicolon, command and semicolon, you can actually turn the guides off. They go. I've turned them off. On a Windows computer, it will be Control semicolon key. I'm just going to put them back on again because you can actually go to the menu up here. You can go to view Show Guides, and that will also turn it off as well. So if you want to put them back on again, view show guides here. And it will turn them back on again. Often you want to talk with them off and on, particularly if they're getting in the way of what you're actually looking at. I just do the shortcut command semicolon key. You can see that our little guy is coming along. He looks lovely. I really like him so far. I'm going to save our document. I'm going to put our guides back on again, we're going to do his little highlights on his toes, if I show you in our resources here. The way that we create the highlight is by using the crescent tool. Go to our crescent tool. And the zooming because we're working with a tiny shape now. Because we created our measuring box, we've got a pink fill, so I'm actually going to turn that pink fill off. I'm going to change the stroke to 1.2. I'm going to go straight into the box there and put 1.2. I'm also going to spin this shape round because we want it so that it's actually facing downwards like that, so I'm going to use the rotate clockwise tool. I'm just going to check the dimensions again. So 3.5 by three. 3.5 in our width. And our height is three and we've got a tiny shape to work with now. I'm going to click back on our move tool. Now, this is where selecting the layers comes in really handy because actually, to click on that, sometimes you can do it, but often I make a big old mistake and I actually end up grabbing something or not even being able to select the shape at all. So I will rename these layers in a minute as we create the highlights for their toes for his toes. But I'm now selecting this layer. I am going to zoom in a little bit because I'm going to bring them down to a bit closer to our toes. We've got our highlight for our toes and you can see that it changes to a arrow. If I actually click the mouse down on that, it's actually going to change the dimensions of our crescent, which is not what we want at all. I'm just going to undo that. Command Z. Take it back to what it was. You see that I keep managing to select the body shape as well. I'm going to click on there and I'm going to go to the center of the shape. Sometimes you actually have to zoom in loads to be able to move it because it's such a tiny shape that we're working with. But what I'm going to do is I'm going to line it up by e. I can see that it's got a green line down the center, which means it's in the middle of the toe. Zoom out a little bit. I'm going to click back on our layer. I'm going to go Command C, I'm going to copy it. I'm going to paste it. I'm going to move it across. Again, you can see where the center of the toe is. Line it up by I give you a little libitter character. I don't have to be exactly placed. Control C, Control V or Command C, Command V, and I'm going to drag it across. For some reason that's not giving me the center line, but I'm going to do it by I again. I'm going to give him three little toenails. I'm going to go into our layers panel. I'm going to highlight the bottom layer, highlight the top layer, I'm going to group them. Command G or group, right click and group. I'm going to duplicate those. I'm going to flip them over again and they will fit beautifully onto our toes on the other side. So I'm going to go Command C, Command V. You can now see in our layers menu that we have another group of little toenails. I'm going to pull it down. I'm going to flip them over here, flip horizontal. You can see they've changed orientation. I'm going to grab that layer of three little toenails there, and I'm going to bring it up. I'm going to zoom in again. I think actually it's almost in the right place. Now you can see the reason I've zoomed out is because as I bring them up, you can see that I'm in the center of the toes because I've got the green vertical line. But it's actually telling me now if you find that solid line, that solid red line, it's telling me that it's in line with the other toes the other toes on the other side. So there we are. R has some little toenails. He also has his toes and he has his body. I'm going to tidy up these layers. So I click on the layer and find out which layer I'm dealing with. So that's the right toes, so I'm going to rename that right toes. I'm going to rename that left toes. Let's see which one that is. That's the right toenails. I'm not going to rename that at the moment. I'm just going to drag that into the right toes layer and I actually want it inside the layer. If I open up that layer, you can see that you've got the three toes on the right hand side and you've also got the little toenails. I want this group, which is the toenails on the left hand side to be inside the left toes layer. I'm going to drag it over the top and I'm going to drop it if you open the layer, you can see you've got the little toenails and you've got the three toes on the left hand side. Just go to check everything else is still in order. Perfect. So we've given our owl a body. We've given him three toes on the right hand side, three toes on the left, and little toenails on each toe. Fantastic. You are doing so well. I'm looking forward to seeing how your owl is coming along, and I will see you in the next video. 8. The Ears & Wings: In this video, we're going to give our owl some ears and some wings. Well done on your progress so far. This is a fantastic project, and I hope you're enjoying designing it and seeing your little o come to life. Okay, first thing we're going to do is I'm just going to check my class resources list here, and we're going to make some triangles for the ears. Triangles for the outer ears are going to be 17 millimeters high, 17 millimeters wide. We'll come back to this in a second. I talked about maintaining the aspet ratio. You can do it with circles, squares, and also triangles as well. We're going to go to our triangle tool on the left hand side. I'm going to hold down shift to maintain that aspet ratio. And I'm going to create some ears. Remember, it says, 17 for the ears and seven for the inner ears. I'm going to select because my curtor is on the cross there. I'm going to go back to the move tool. I'm going to select this. We now see it selected because of the arrow. We do want to maintain the aspect ratio because we've already created a beautiful symmetrical shape, click the maintain aspect ratio, and then we know that the width and the height will both change in the same proportion. Change that to 17 and click Return. If I move it over here, you can see that the ear is at the wrong orientation. It's going to move up a little bit and zoom in. What we actually need to do is we need to actually create a rotation on this. I don't think I've got the stroke, right. It's not looking quite thick enough. No, it needs to be on a stroke of two. And the way that you can do this, you can either grab the top and you can rotate it. It needs to be a rotation of -25. I find that really tricky if I zoom in even more. Sometimes you can get exactly the right amount by toggling it, but it can take a moment. There we go. It's at -25. It's far easier way, though. I'm going to undo that. Control ed, commands Eed to undo. I'm just going to type it in here into the rotation box. So -25, make sure you've got the minus in. Otherwise it will flick the wrong way. They're going to drag our here over to here and they're going to line it up where I think it looks about right. We had the same problem here as we had before. I want this ear sitting behind the head. The only way we can do that is to go back to our layers here and we're going to need to change the position of the layer. I'm going to drag it down underneath the head. Immediately, it looks like the bottom of the ear actually disappears behind the head. If I show you that again, just undo what we did. The triangle on the top, I'm going to rename that to right here. You see that layers at the top, we need it underneath, so we're going to take it down, take it down, get that thin blue line, which tells you that it's going underneath the layer, not into the layer. Click it there and it's now disappeared behind our head. I'm going to move it over slightly. Not quite decided where I want the ear yet. I think that looks about right. I'm now going to create the inner ear. I'm going to highlight the ear that we already have. I'm going to duplicate it, so I'm going to command C, command B because I want to make another one. I'm going to double click on the layer here. I'm going to call it right inner ear. Click off it so that it registers on the layer, what you're naming it, reselect it. I'm going to come down to here. I'm going to change that seven. Because it's the inner ear, a bit like we did the highlight on the beak here, we want it as a thinner stroke. We want it at 1.2. And I'm just going to offer it up to the ear, and I'm going to see where it looks about right. There's no wrong or right with this. You could have it sitting up nice and high, or you can have it sitting in the middle. And that's about right. If you zoom out, you can see that the little guy has an inner ear, as well as an outer ear. I'm going to come back here. I'm going to highlight the right ear, I'm going to highlight the right inner ear, and I'm going to group them. You can highlight both layers, right click group. That now means that if we move this about, it will move both parts, not just one part. We can check that both the layers are in there. I'm just going to call that right ear. We're now going to create the left ear, not surprisingly. We're going to click on the right ear layer. I'm going to duplicate that layer, that group. So I'm going to command C, command B. I'm going to rename that left ear because although it doesn't look like it at the moment, it's actually there. And I'm going to drag it away. I'm now going to reverse. I'm going to flip it over, so it's mirroring the layer that we've already created here. So we want the right ear and the left ear to be mirrors of each other. So I'm going to flip it horizontal. And if you have a look down here, I'm just going to open up this layer. Going to rename these to left inner ear. Remember, double click on the layer if you need to rename it. I'm going to click on the left ear and you can check the rotation is at 25, not -25 because we're now on the other side. That's the inner ear is also at 25. Close that layer up, click on the layer and I'm going to bring it down. We know that it's sitting behind the head because it's actually underneath the head layer. But I am now going to see if I can get it in the same position as the other ear. That looks about right. But what I'm actually going to do is I'm going to do the same as we did with the toes here. I'm going to just create myself a little measuring box and put some guides in so that I know that the distance from here to the edge of the ear is the same as the distance from here to the edge of the ear over here. You can, of course, do it by eye if you don't want to measure, but I just make sure if things lined up, otherwise, you end up with a wonky ow. I'm not sure how you'd feel about that. Click on the right ear. Draw a guide in from the left hand side and wait until you see the little green nodes, and we now know that that is in the right place. Doesn't matter if you can't see the edge of the ear down here because the ear comes down and the edge of the ear will actually be hitting where that guide is. I'm going to draw myself a little measuring box. I'm going to go to the shapes tool, the rectangle tool. I'm going to draw myself a box here, a square. I'm going to fill it. Have a lovely purple this time. I'm going to highlight and select it. Drag it across here, line it up with that central guide here. Drag that in till it hits the guide, and it's telling me it's 8.6 millimeters. As I said, the size doesn't actually matter. What you're doing is making sure that you've got this distance in between here. I'm going to grab the shape. I'm going to line it up with the center guide again. I'm going to draw another guide in from this left hand side. Make sure you got the little green nodes. Just zoom in again. When I draw that guide in, make sure you've got the little green nodes on the corner of the shape. I'm then going to delete our shape because it's done its job again. I'm going to grab our layer for our ear. I'm going to put one more guide in actually, to make sure that we get the top of the ear sitting at the same height as that ear. So I've selected the ear, the right ear. I'm going to draw a guide down to sit it on top of that ear. I'm going to bring the guidance. I'm going to row not the guiding, I'm going to bring the ear in and offer the ear up and get it sitting in the right place. It needs to be against this, the vertical guide, so it goes green and against the top guide, so it goes red, if I now let go. I'm going to toggle the guides on and off. So command and semi colon key. And you can now see that everything looks very much lined up, okay? The ears are sitting in exactly the same place on each side of the head, and it's starting to look really rather good. I'm going to put the guides back on. So command and semicolon key again. I'm actually going to get rid of the guides that we don't need. Otherwise, I end up with loads of guides on my page that I've finished using and they just get in the way. So I'm just grabbing them and just dropping them off the edge of the document. I can see that the document up here has been modified, so I'm going to save our document, Command S. Remember, you can go into Edit. So we're on our Edit going to file and save. Going to make sure that our layers are doing exactly what they should be doing here. I right here and I left here. They're all lined up beautifully. We're going to give this little guy some wings. We're going to be using the rotation tool again. We're going to go back into our class resources. We're going to design our wings upright to begin with, and then we're going to put a rotation on them, and then we're going to mirror them and we're going to flip them vertically to make sure that the wings on both sides are exactly the same. Our wings need to be 21 wide by 66 high. So they're going to our lips tool. They're quite long and thin. We will take the fill out of that in a minute. We're going to take the maintain aspect ratio off. So 21, and I think it was 66 high. 21 Oops disappeared. So 21 and 66. And it's going to give you a long thin shape. I'm going to turn the swatch off. I'm going to highlight it, select it. I'm going to make sure that the stroke is correct. We know that for all the outer body parts, the stroke is always at two, so I'm going to knock that up to two. And I'm going to offer it up to his body. Make sure it's about the right proportions. Looks pretty good to me. I'm going to check back on off resources. So the stroke for the teardrops, we know that the stroke for the outer part of the wing is at two because everything is at two on the outer parts of the body. And for the details, we're actually going to have the stroke at 1.5. It's a little bit thicker because they stand out. I want them to stand out just a little bit more than I do for the highlights that we've put in before. So the stroke is going to be at 1.5. We're actually going to rotate when we have put the tear drops in. I'm going to show you how to do the teardrops next. We've got our wing here. We need to go back into our shapes tool, and we need to go down to the tear tool. And I'd like you to draw some little teardrops. The teardrops need to be 5 millimeters wide by 8 millimeters high. So I'm going to zoom in because again, these are pretty little. Make sure the maintain aspect ratio isn't on here. So 5 millimeters by 8 millimeters, and you get a very sweet little teardrop size. I'm just checking 5 millimeters by 8 millimeters high, and the stroke has got to be 1.5. You can slide that down because that will actually register 1.5, select again using our move tool, and bring it down. Now the reason we haven't rotated is because it gives us the lovely guide that shows us that we're in the center of the shape. What I want you to do is I want you to bye, work out where you want the top teardrop because we're going to do something very clever with the alignment tool, which is a little tool which isn't highlighted at the moment. Draw your teardrop. I want you to select it. Command C, Command V, we are copying and pasting. If you now hold Shift down, you can drag it down. It doesn't matter where you drop them at this point. The only ones that matter are going to be the top one and the bottom one. We're going to put 51, two, three, four, five, we're going to put five teardrops on his wing. We've copied and pasted. We're going to copy and paste again. If I go into lays, you can see it happening as we're doing it. Command C, Command V, copy and paste, Hold Shift down and drag it down. Do it again. Command C, Command V, drag it down. Command C, Command V, and drag it down. I said to you, it doesn't really matter. It's going to start telling me how far things are away from each other. But what I want you to concentrate for now, is the top tear drop and the bottom tear drop. Get those tear drops in the place where you actually want them sitting. I think that looks about right. Now, what we're going to do is we're going to align the rest of these shapes with the top and the bottom shape. When you go to the layers menu, I want you to select all those layers, so now you can see that all those teardrops are now highlighted. I want you to go into this tool up here that says alignment. Click on the alignment tool. There's three options here. There's a line horizontally, which will take it this way, align vertically, which will align it that way or see up and down and make the same, which you don't need to worry about at the moment. What we actually need in this tool is the align vertically. Space vertically, if you hover over the end box here. There's four boxes here. You need to hover over the right hand box that says space vertically. You can also go into the layers tool here, alignment. You can also do it through the menu here, space vertically. But we're going to do it through this tool here. Click the tool, go into a line vertically. If you watch what happens to teardrops as you press the button, they jump into lines. They are now spaced vertically. Fantastic tool. Absolutely love this tool. It makes things so much easier because you got to try and line things up or draw little measuring boxes or draw guides of any sort. You can literally just get all your shapes in a line and make sure that they are all vertically lined up and then you can press that tool and it will actually then align them so that they're an equal space between each one. Click Apply. I then click off it, I have a look at it and make sure it's looking how we want it. I'm now going to group these teardrops together. So you can either do Command G, Control G, or you can do right click and group. I'm going to drop these inside the wing. I'm going to drag it over the top. I want that thick blue line, and I'm going to drop it in there. I'm going to check that it's in the right layer. You can see now that we have the group of teardrops. If you unclick that group, if you open that group, you will see that we've got the teardrops here. We've got a group within the wing. I'm going to close that back up again. I'm going to name this Wing. I'm going to zoom out a little bit. We now know because this is all grouped together that we can move that about and none of the teardrops are going to move, and the wing and the teardrops are all going to stay together. I'm going to check back on our class resources, and we've got a rotation of 25. I'm going to save what we're doing so far, so Command S or going into file and save. I want to rotate this, so I'm going to click the rotate tool. Down here, I'm going to put in a rotation of 25, and you can see that his wing is now in some kind of orientation that looks like he's got his little wings flapping. As you saw when we move that over the top, you can see the line of the body underneath or through the wing. There's one more thing we've got to do before we can actually place the wing on the body. I'm going to click the wing layer open. I don't want to go into the group at the moment. I actually want to be on the top layer that says wing. I'm going to go into the swatches. I'm going to fill that with white. You can see it's filled with white. Obviously, we're on a white background so you can't actually see that it's done it. But if you now go back into the layer, the teardrops aren't filled because they don't need to be because they're sitting on top of the white wing. But, the actual shape of the wing is actually now filled. If we now test it over the top of the body, you can see that you can't actually see the body through the wing anymore. Now you can see that as we offer it up, the wings actually sitting over his face. You could have it like that, but I actually want the wing sitting underneath his head. Again, like we did with the beak up here, we've just got to shuffle the layers about to make sure that we get the wing underneath his head. I'm going to close that layer up and I'm going to drag the wing down underneath the head, and I'm going to see whether that actually does what we need it to do. Brilliant. It does. So if you now click off, you can see that his little wing has now disappeared underneath his head. Go to make sure that I can seal the teardrops. I'm just going to drop the wing down like that. We now need to create the other wing. So I'm going to click back on the wing layer. I'm going to duplicate it, and then I'm going to flip it vertical again. So Command C, Command V, copy, paste. You can see we've got a wing that looks exactly the same as the right wing. I'm going to drag it away. It's on the wrong orientation because this is at 25 degrees. If I remind you there, it's on 25 degrees. This one has got to be at -25. I'm going to click down in the rotation box and I'm going to add a minus in front of the 25, which now flips it over. I'm going to offer it up and see whether it's sitting underneath the head, which it is because you can check in the layers menu. It's actually sitting underneath the head layer. But I now want to make sure that we get that in exactly the same place. I'm going to click on the right hand wing. I'm going to rename that right wing. Rename that left wing so that we know what we're dealing with. I'm going to click on the right wing, and I'm going to draw myself a guide. I'm going to wait until it touches the top of the right wing, and I'm going to let go. I'm going to draw that guide until it touches the left hand side of the wing. If I zoom in, you see it's touching the left hand side because it goes green and create my little measuring box. Because it's just a measuring box, I'm going to color it in to make sure that I delete it afterwards. I'm going to go to the MO tool. I'm going to select it. I'm going to drag it across, make sure it's lined up with the left hand if I can't see sometimes bring it in. Left hand guide, there we go. It's gone green on the left hand side. Stretch across to fill that space. Make sure it's snapped in place. Move it across. Make sure the guide in the middle goes green, the center guide goes green. Drop it. Draw that guide in, line it up with the edge of the measuring box. I'm going to delete the measuring box because again, it's done its work. So now we know that the corner of the wing here corresponds to where we want the corner of the wing here. We've brought our guide into the edge of the wing. I'm now going to select this wing Ops and not delete it. Command at that. I'm going to select our wing and I'm going to draw it in. Zoom in again. So I know that the edge of that wing and the top of that wing are going to be sitting on those guides. So the top needs to make the guide go red, and the right hand side of that wing needs to make the guide go green, which is exactly what I've done. There we go. If I now click off it and zoom out a little bit, you can see that his wings are looking pretty fabulous. I'm going to get rid of the guides that I don't need, so grab them, drop them off, grab them, drop them off, grab and drop off. I want to have a look at how without his guides on, so I'm going to go command and semicolonk I'm also going to save the document as we go, save our, so command S or file, save. I think he's looking great. I'm really liking how he's looking so far. I'm going to put the guides back on. So in this lesson, we gave him ears, and we gave him wings. We gave him inner ears, and we gave him the teardrops, which are obviously on a slightly different stroke. He's got his eyes in, he's got his beak in, he's got his toes and his body. In the next lesson, we're going to take him even further and make him look even prettier. I'll see you in a minute. 9. The Heart & Stone: In this video, we're going to give our owl a heart and a stone to sit on. Every good owl needs a heart, and you need something to stop him flying away. First thing we're going to do, make sure you've saved your document so that you save all the hard work that you've already done. You are doing so well, by the way. You need to go into the shapes tool, and you need to scroll down to the heart, which is almost at the bottom underneath the tear tool. I'm gonna check what size our heart is 35 by 33. Give yourself a little bit of space and draw yourself a lovely heart. I'm going to take the fill off that. Remember, we've got the cancel fill here. Go to change it down here, 35 by 33. And the stroke on the heart will be two because it's the outer shape. When we do the circles in the middle, the strokes going to be a little bit less. 35 by 33, fabulous. Change the stroke here, change it to two. I'm going to select we've got the cross on, which means we're on the drawing cursor. Select the heart and I'm going to bring it up and position it. Again, you can decide where you want to position it. It seems very happy to position it there. It seems to be lining up with lots of stuff. I'm going to check on here. You can see that the heart, which I'm actually going to name heart, although it had already named the heart because it names the shape that it's just drawn. I'm actually going to name it heart layer. I now want to put some circles, just as a little bit of decoration in the same way that we've put the tear drops down the wings, we're just going to put some circles, and I'm going to zoom in for this. I want our circles to be 4 millimeters. I'm going to go into the shapes tool, go to the ellipse tool. You've done this lots of times now. Give myself a little bit of space down here. Going to hold the shift key down, and I'm going to draw out a circle. That is 4 millimeters. I didn't get that exactly correct because we've got a perfect circle. I'm going to maintain that aspect ratio because we've got the same numbers here top and bottom, so we want them to change in the same way. Four, I'm going to select it, and I'm just going to move it. I just going to zoom in a little bit. I'm just going to do it so I can see the heart here. I'm thinking we're going to have four circles going across. Then three, then two. I'm going to line it up roughly where I want that. Circle sitting about there, I think, I'm going to duplicate the circle. Command C, command V. I'm going to hold Shift down and I'm going to drag it out. 3 millimeters. You can see where it says three. That means it is 3 millimeters away from the previous circle. I'm going to let go of all the tools. I'm now going to duplicate it again. Command C, Command V. I'm going to drag it the other way and I'm going to try and get it so that it is 3 millimeters away. There we go. 3 millimeters. I'm going to let go again. Don't worry about the fact that it's not lined up. We will line it all up as a group. I'm going to command C, I'm going to make sure that circle is selected. Command C, Command V, hold Shift down again, and drag it out. There we go. You can see now all those circles are now 3 millimeters away from each other. Going to let go Shift, let go of the mouse. We've now got four circles, all 3 millimeters apart. I'm going to highlight the layers up in the layers panel and I'm going to group them because they're in exactly where we want the places that we want them. I'm going to right click group. I'm going to change the stroke to 1.5. Now I want to make sure that the group of circles are sitting down that center guide. I'm going to grab the group, I'm going to select it. It's already selected, I'm going to grab it and I can then move it about. I'm just going to position it where I think it looks about right. There we go. Perfect. I now want to create a line of three. The easiest way I found to do this is I go back into that layer. I grab one of the circles. It doesn't matter which one. I Command C, Command V. Now this circle here is actually still in this layer, this group. I actually want to drag it out of that group and pop it up at the top. You still see that the four circles from this group are in this group here, but we now have an extra circle. If I bring that down, you can see the extra circle. I'm going to start off by lining it up on the center guide. It will want to put it where it thinks I want it, but you can line it up where you want. There we go. That's now in the center of that heart. Just notice the hearts not sitting down that central line. There we go. The hearts now done on the central guide. I circle, which I just select again, that's sitting on the central guide. I want to now make sure that there's a circle, this side 3 millimeters and a circle this side 3 millimeters away. I'm going to copy and paste it Command C, command V. Hold Shift down because that keeps it in the same orientation and I'm going to drag it out until we get to three. There we go. I'm going to go back to the center circle, select that again, Command C, Command V. And I'm going to get it to 3 millimeters again. There we go. Now we know there's 3 millimeters between there and 3 millimeters between there. I'm going to make that into a group, highlight and select the bottom layer, select the top layer. Right click group or Command G. I'm now going to name these layers. I'm going to say top circles. Double click on the ire. Middle circles. And I want to drop in two circles at the bottom. There's a couple of ways you can do this. You can either draw or copy and paste one of these circles, bring it down and line it up so there's 3 millimeters between, or you can actually cheat and use the two middle circles from this layer, which is often what I do. I open up that group there and I find the two circles in the middle. Now, strangely, these are in the wrong order, so I'm just going to change the layer order so that I know that again, that's in the wrong place, move it up. Sometimes you have to shift them about. It's all in complete wrong order. There we go. That's now the first one, second one, third one, and fourth one. That's the second one, and we want the third one as well. I'm going to select the layer. I'm going to hold down Shift to select more than one layer. I'm going to select that layer as well. I'm going to command C, command V. I'm going to hold Shift down again and I'm going to drag it down. Now you're watching for the lines but tell you how far apart these layers, these groups are. I'm going to let go of shift and the mouse key. I'm just going to double click on these two circles again. I can see here that they're now in the middle of our group. To grab both those layers, I'm going to type them to the top. I'm actually going to group those two together. I'm going to call them bottom circles. I now want to grab those three layers. I actually want to move them up slightly into the center of the heart. And I'm going to group these three groups together. Right click, group. And I'm just going to call them circles. I'm now going to put these circles inside the heart layer. You can see them appear there. And if we click down, we've got all our different groups in there. It's perfectly okay to put groups within groups. It just keeps everything tidy. If it means that if you need to go back in and edit anything, you can easily find it. I'm going to save our document. So file, save. I'm going to zoom out. I'm liking how he's looking. I'm going to toggle the guides off, so command and semicolon key just to make sure that he looks how we want him to look. I'm going to put those guides back on again. And I want him to now sit on a stone. Go to check back in the class resources. The stone is 90 millimeters by 55. You need to go to the shapes tool here and we need to find the crescent tool. Sorry, the segment tool. Bit of a strange tool this because it draws really weird shapes, but it's ideal for creating a stone for our owl. So 95 quite a big shape, this one, 90 by 55. So 90 by 55. We know that it's an outside shape, so it's got a stroke of two. And then we can offer it up too and see where we want his feet to actually sit. Make sure it's lined up down the central guide again. And we now need this segment to be sitting behind his body and behind his toes. So I'm going to bring it right down to the bottom and drop it. Now I can see we've got a problem. I can see the top of this stone through the body. I now know that we've got to fill our body with a color with white to make sure that it appears that stone is now sitting behind. You can now see in the layers menu that the body shows as being filled. I think that's looking pretty good. It looks like he's actually sat on top of that stone, which means he's not hovering in midair anymore. In this video, I showed you how to do the heart. I showed you how to do the dots and line the dots up, and I also showed you how to sit our little guy on a stone. We're getting really close to the end of designing our coloring page. The next thing that I show you is fantastic. It shows you how to put shapes into a circle and space them evenly. Fantastic tool. I look forward to seeing you in a minute. Well done. 10. The Circles, Stars & Eye Details: In this video, we're going to make our owl look a bit fancy. We're gonna give him a gorgeous halo around him. We're gonna fill the halo with stars, and we're also going to give his eyes some little details. He's gonna look really special by the end of. We're nearly there. In this video, I'm going to show you how to finish off your out to make it a really exciting colouring page to colouring in. We're going to use a fantastic tool called duplication. There's a few things you need to remember when you're using the duplication tool, but I'll talk you through that as we go. Also going to show you how to use duplication tool to make his eyes look just a bit prettier than they do. So let's get on with it because we're so close to finishing, and I'm so proud of you. First thing we need to do, go back to our Shapes tool again. FinipsTol if you're not already on there. Hold the shift key down and drag yourself a lovely big circle. We need to make sure that the maintain aspect ratio is actually on here. And we need to have 170 I was nearly there, 170 millimeters. And you see that it's changed the width and the height. You're well used to doing that by now. I'm going to select by going to our move tool, and I'm going to drag this to where I think we might want our circle to sit. Make sure it's lined up with the guides, and you can see that it's filling this space between our margins exactly. That's great because it means that we're using the most amount of space possible on the page, but it also means that this shape will actually owl and his circle will fit onto a USEa size page as well. So you can work in the millimeters. You can work with the dimensions that we've been working with, and it will actually work on a USEa size page as well. If you are working on U set a size page, I suggest that you change the dimensions to millimeters, which you can actually do in the rulers here. If you right click, you can actually change the dimensions of the document size without having to go into the document. So you can actually just change it to millimeters, work with millimeters, and then you can pop it back to inches when you're done. Okay. We've got our circle here. Don't worry about the fact that you can still see it sitting in front of the stone, not important at the moment, because in a minute, when we put the stars in, we'll throw it all behind the stone. I think I'm going to move that up a little bit because I don't think there's gonna be space above his ears. So let's move it up just a little. There we go. I'm going to check back and see how big our stars are. Our stars are at 12 millimeters. Go back into our shapes tool, go down to Stroll. Hold Shift Down. Again, it doesn't matter where you are on the document. Hold Shift down. And if you can get to 12 millimeters, great. If not get as close as you can, I just always check in the box over here that I've got the right size at 12 millimeters. Make sure that the stroke is right. So the stroke for our stars is correct at 1.5. But I just want to check that the stroke on our circle is correct because that needs to be at two, which it isn't. So pop that up to two. In fact, you can have it even thicker. If you want it thicker out of line, just to give a bit of effect. You can have it a bit thicker, if you want it thicker, have a play about with that and see what you think. I'm going to put it to two. I'm going to bring our star into our circle. Now, be really careful because it's a smaller shape. And if you just grab it like this, what you'll end up doing is moving the little crosshair, the little target shape out of the star shape. That's not actually what you want to do at the moment. You will need to move that in a minute, but not right now. So I'm going to click back on that, and I'm just going to undo that so that our little cross hair ends up back in our shape. And I'm going to actually just grab it somewhere apart from in the middle and move it across. Now what I want to do is I want to line it up so I think that it's going to miss his ears. If I bring that round there, I might actually need to move the circle up a little bit more. I'm going to move the circle up just a little bit more. Give me a little bit more space. And I'm going to click back on our star again. I'm just going to move that up. You can also move the shape by using the arrow keys on your keyboard if you want to get a little bit more exact movement. Okay, I'm going to leave the star there. I want to show you something that's really important for using the duplication tool. Click back on your star shape if it's not already selected. You can do that in your layers menu as well. Up here, there's a little button that says enable transform origin. I always use the button up here because it's in this nice selection of tools up here, and I just find it easier to use in here because I need to see what's going on on the page as well, rather than loping one of the boxes, the dialog boxes or the menus up here. So click on your star, and you will see once you've clicked this tool, that little cross hair appears, if I turn that off, you'll see it disappears, and if I enable it again, you see that little cross hair appears. That's really important for using the duplication tool, particularly in the round like this. If I just explain what this tool means, enable transform origin, what we actually now need to do that cross hair will allow us to put the origin of the duplication anywhere we fancy. We're actually going to put that little cross hair, the origin for the duplication in the middle of this great big circle. So unselect the star, select the circle, and you can see there's a little node here on the right hand side. We know that the middle of the circle is already sitting on that center line because we lined it up. Draw yourself a guide down and see if you can find the center of the circle. You need to make sure that the guide goes a solid red. If I click off and I zoom in, you can see that that guides actually sitting through the middle of that node. So that's fantastic. We've now got the center of this circle. Click back on your star. I zoom in a little bit so that I can still see the middle of the circle that we've just located. Now you do need the cross shape for the cursor. Click down on the mouse and drag. I've actually got underneath my mouse here, I've actually got that little crosshair. I'm going to bring it down here, and I'm actually going to drop it where I think the center, and I know that's not gone on the center. So I'm going to zoom in. I'm going to grab it again, and I want it actually sitting so the horizontal guide goes red and the vertical guide goes green. I then zoom right in as far as I can, to make sure it's actually sitting in the center of the vertical guide and the horizontal guide. It's looking pretty good. So I'm going to zoom right out again. Sometimes you need to zoom in to actually make sure it's sitting in the place that you need it to be. You can now see that our star up here is still selected. Now comes the fun part. We now going to use the duplication tool. Making sure that that start is selected either in the Layers menu or on the page, I want you to press Command J. It will be Control J on a Windows computer. So press Command J, and you will see in the layers menu that it creates another start. I don't want you to do anything with that at the moment. I want you to come straight down to the rotation menu here. And click it so that it's highlighted. What we're now going to do is we're going to tell the star how many times to duplicate around the circle by using degrees. I normally choose a number that goes into 360. So if I decided to do a duplication of, say, for example, seven degrees, because it doesn't exactly divide into 360, all these stars are not going to be evenly spaced. And when you get back up to the top, there's going to be a big mess. You need to find a number that divides exactly into 360, and I know that 20 does. So we're going to use a duplication of 20 degrees. So in our rotation box here, I want you to put 20. I want you to press return, and you will see that that second star that was created when we press Command J has now duplicated at a rotation of 20. This is when the magic happens. Continue pressing either Command J or Control J until you have got stars going all the way around your circle. This for me was absolutely magic when I found this. I love using this tool so much. Okay, click off. Have a look at it, see what you think. I actually think that this star, these stars are actually too close to the ears, and sometimes you just have to play about with things just to find what you think looks best. So what I'm actually going to do is I'm going to do it again and I'm going to show you how the tool works again because I'm not quite happy with that. I'm going to select the stars that I actually want to delete. So I'm going to start with that star. I'm going to select that. I'm going to select the rest of the stars in that group. I'm going to delete them. I'm going to go back in and I'm going to move our start up just a little bit, take it a bit closer to the edge of the circle. I'm going to zoom out. Really important thing to remember, if you move the original shape that you want to duplicate, make sure you change and move the cross hair as well. Otherwise, the origin will not be in the center of the shape that you are duplicating around. So if you move this shape up here for any reason, make sure that the cross hair is still sitting in the center of the circle. I'm now going to do it again. We've got our star here. It's selected, I'm going to press Command J. You can see it's duplicated another star. Going to go back down to our rotation menu. I'm going to put 20 back in again. It creates another star at 20 degrees duplication, then I'm just going to keep duplicating it around the edge of the circle. G to keep going until it gets to the top. And there we have stars duplicated around the center of the circle. I love this. Zoom out a little bit. I'm going to get rid of this guide here because we don't need it. I'm also going to top all the other guides off just so I can see how it looks, and I love it. It's perfect. That's just how I want it. I'm going to put the guides back on with the command semicolon key. And what I'm going to do is I'm actually going to group all these stars because we still got all the other stuff in our layers menu. Otherwise, the layers start to get a bit unruly. Oops, I only managed to select two layers there because I was pressing command and not shift. So select the bottom layer that you want, press Shift, and that will allow you to select all the layers. I'm going to right click. I'm going to group now you can see at the moment that the circle and the stars are sitting in front of our stone that the owl is sitting on. The reason for that is that it's at the top of our layers list. We need to get it underneath. So what I'm actually going to do is I'm going to put these two groups together. We've got the ellipse here, the circle, and the stars. I'm going to put those together. I'm going to drag that group into the circle. So now you can see the group of stars. I'm going to actually rename that stars. So we know what we're looking at. And this is the big, the huge circle that we've got going round R. We now know that stars the group of stars is inside that circle. And I now want that behind the stone. I can already see a problem, but I'm going to pop it down behind that stone. And he doesn't look like anything's happened. Well, we know it's happened because we've changed the layer order. But what we need to do now is we need to give the stone, which I've forgotten to name. Let's name that stone. We actually need to give that a fill because then it will appear that the stars and the circle are actually sitting behind the stone. So go back into our swatches menu. And we fill it. There we go. It now looks like the stars in the circle are actually sitting behind our stone. He's looking really good. We're going to do the same function again, but we're going to do it in his eyes. Okay. We now need to work on his eyes. We need to find the eyes and beak layer, and we need to find the outer circle. I've forgotten to layer this left and right, let's call that left outer circle. Right outer circle. Sometimes when you're working with so many layers, you just forget to name them and you just go back in and work out what the layer is and just give it a name. So I want to start with the right out of circle I. I'm going to zoom right in. Now, you can see there's four little nodes on this circle. That's depicting the middle horizontally, and that's depicting the middle vertically. Now, we're not working with the central guide anymore because we are actually away from the central guide, so we've got to put our own guides back in. Make sure the circle is selected. I'm going to drag a guide across, and you'll find that it will snap to the center of that. It will go green. So snap it to the center of that circle and snap the other guide that you pull down from the top. Going through the center horizontally. And there's a cross hair in the middle that actually helps you as well, so you can make sure it's actually sitting through the middle of that cross hair. Right, we now know that we've located the center of this circle here. I'm going to zoom in a bit. We're now going to create a circle in this space here that we can duplicate round here. You can use any shape. I've done stars. I've done teardrops. But for this time, we're going to use a circle. I want it to be an exact circle, so I hold down shift and I draw myself a circle. And I think I put on the class resources. We go up there. The circles in the eye, we're going to make them 3 millimeters. 3 millimeters, we're going to make the stroke 1.2, and we're going to make the duplication 30 this time instead of 20 because we know that 30 goes into 360, so we know that it will spread it around the circle exactly. But the circles in the eye are going to be 3 millimeters and the stroke is going to be 1.2 because otherwise I actually look overwhelming. So let's change the stroke on that while we're thinking about it. Click on there, 1.2. I'm going to select it again and I'm going to move it there. I'm going to make sure it's at three, which it's not. So I'm going to maintain the aspect ratio so that we change the width and the height together and change that to 3 millimeters. I'm going to position just by moving our circle up and down until I think the circles in about the right place, and you can actually do it. So those cross guides, the little lines that it brings up showing me that it's sitting right in the center of this space here. So I'm going to try duplicating it where it is just there. You can see, because we've got our enable transform origin selected here, you can see that we've got the cross hair in the circle. If I deselect that, the cross hair disappears, and if I select it again, you can see that it reappears. Remember, we've got to move that cross hair down to the place that we want the origin of the duplication. That sounds very complicated. Basically, you're just telling it where you want the shape to duplicate around. So grab that cross hair. You need to instead of having the arrow, which selects the shape, you actually need to select the cross hair, drag it down, drop it in there, so wait till the guides go green and red at the same time. I then zoom in, make sure I'm on the right place. I go back to my layers menu. And for the purposes of working in the eye, I'm actually going to remove that right to the top. So I've dragged it. So I grabbed it and dragged it. I'm just going to undo that for a second. You can actually also go to layer arrange move to front. That will actually take it actually takes it to the top of that group. I actually want it to the top of our layers, so I'm just going to grab it and take it right up. We know our crosshairs in the right place. We're now going to do a duplication on this circle to go around the eye. I'm going to go Command J or Control J. You can see that it's duplicated a shape. It's duplicated one of our circles we've just created. I'm going to come down to the rotation box here. I'm going to put 30 in there and press return, and you can see that it has now duplicated a circle around this point at 30 degrees. This is where the magic happens again, keep pressing Command J or Control J, and you will have a circle of circles, which is fantastic. If I zoom out, you can see how suddenly our ow takes on a whole different appearance. I'm going to cut right back up to the top. I'm going to select all these layers. I'm going to click on the bottom layer, I'm going to press Shift. I'm going to select all those layers. I've now selected all these circles here. I'm going to right click and I'm going to group. We've now got to pop these back into the I underneath the beak. This can take a little bit of fiddling with. I'm actually just going to rename that to I circles. And I'm going to find where we actually need to drop that to get it sitting behind the beak. It's certainly going to have to be underneath beak. There we go. Actually, if you just bring it down from the top of the layers and you drop it in behind the beak, you will find that it actually hides in behind the beak. It's looking so good. Really excited about this. What I want you to do now, I want you to click on that layer. I want you to copy that layer. Command C, Command V. I want to paste it again. You can't see anything at the moment. You can see that you've got another layer, another layer of eye circles in the layers panel. I'm going to click on the bottom one because we know that's the one we created first, and I'm going to call that the right eye circles. I'm going to drag the layer above it across. And you will find if you get it in the right place that you've actually got the cross hair going vertically, which shows you that it's lined up with the center of that bigger circle. And it's lined up because I'm holding Shift down as I move it across, so I can only go across and not up and down, and I can let go. And we can see that it's in exactly the right place. I'm just going to rename that layer to left eye circles. I'm going to deselect it. I'm gonna zoom out. And I'm really excited to say that our owl is finished. I'm just going to remove the guides that we don't need. I'm actually going to take those guides off completely. Oh, I've forgotten one little thing. We've got a little highlight on our stone to do here. So we've done our circle here with our stars. We've put our circles into our eyes. It's going to go back here. And our little stone here has got a highlight. This is just the last thing we need to do just to make it look a bit more realistic. The highlight is 11 by 22. I'm going to save this before we go any further. Command S. We need to go back into our shapes tool, and we need to go into our crescent tool. Bit of a strange tool, this. We used it for the little highlights on his toes. I'm going to hold the shift down, and I'm going to draw, and I'm going to make it much bigger than I actually need, and we get a lovely crescent shape. I'm going to check the size again. 11 by 22 high. So uncheck maintain aspect ratio. Going to make that 11 by 22. And what we actually need to do is we need to spin it around 180 degrees. So go back to our tool here. Rotate clockwise, rotate clockwise. I'm going to select it. And I'm going to bring it up and what we actually need to do. It's not actually going to work if we've rotated it just by 90 degrees. I'm actually just going to drag it round until I think it looks about right. So I normally line the back of the shape up here with this shape here. But you can actually pop it wherever you want to pop it. And I'm going to zoom out. And now our owl is finished. You have learned so many different skills by doing this, by doing the whole class. I'm so excited to have been able to share this with you. Please share what you've created with me. I'm looking forward to seeing what you've done and really, really well done. Thanks very much. Bye bye. 11. What You Learnt: Before I disappear, I just want to remind you about everything that you learn in this class because the list is long. You learn how to get publisher if you didn't already have it. You learn how to open it up and set it up properly to make it as easy to work with as possible. You learn how to create new documents, margins, guides. You learn how to work with master pages and pages. You got to know your shapes tool very well, as I promised you you would. You learn how to work with strokes. I'm sure you became best friends with your layers and groups as well. You learn so many more techniques, rotation, alignment, duplication, flipping, snapping. But all these tools that you've learnt and these techniques, they will help you if you decide to go on and design more coloring pages and more principles. I'm just so grateful that you stuck with it because what you've designed is fantastic. 12. Final Thoughts: Well, that's a wrap. Thank you so much for joining me for this class. I have so enjoyed taking you on this journey and showing you a little bit of what I know about Affinity Publisher. I hope you've enjoyed this class, and I hope that you will take the skills that you've learnt and start to design your own principles and start to design more colouring pages because not only are they the most fun to design, they're also the most fun to colouring in as well. Make sure you check out the class resources because I've included a bonus page in there, showing you different customizations that you could do for your our principle. Have fun colouring it in, but also be inspired by it to try different things. There's no right or wrong. Just have some fun. So glad you joined me through to the end of this class. I'm looking forward to seeing you again soon in the future. And I can't wait to see what you've designed and what you've created. You've done so well, and I'm so proud of you. I look forward to seeing you soon. Take care. Bye bye. If you'd like to know what I'm up to and any future classes that I'll be releasing, please sign up for my email newsletter on my website at www.theaffinitygl.com. I'd love to connect with you, and I look forward to hearing from you soon.